[Smt-talk] Classical metric fakeouts

Fiona McAlpine fe.mcalpine at auckland.ac.nz
Sun Mar 27 23:43:54 PDT 2011

Dear All,
This goes rather earlier than anyone has suggested, but what about the C# minor fugue from Book 1 of the WTC, which suggests a standard alla breve minim beat of a fairly boring organ kind at the beginning, only to break out in crotchets & quavers later with the two countersubjects/other subjects, as if to say 'this is what I really meant'?
(Dr) Fiona McAlpine
Honorary Research Fellow
School of Music
University of Auckland

New Zealand Musicological Society

Le Béguinage
42 Horns Rd
RD 1
Oxford 7495
North Canterbury

On 28/03/11 4:25 , "Michael Morse" <mwmorse at bell.net> wrote:

Not entirely sure that this is a pure example of the rhythmic fakeout, but the first movement of CPE Bach's Bb Sinfonia starts with held tones answered by moving lines; the precise relation of both to the tempo isn't entirely ambiguous, but neither is it entirely clear.

This example raises the question for me: is what London is talking about, and is what you're interested in, a particular subclass of rhythmic ambiguity? i.e., that would also include Brahms's Scheintakte and Beethoven's bar groupings that sound like beat groupings, e.g. the scherzo to the Ninth? Or is there another phenomenon here?

Michael Morse
Trent University Peterborough/Oshawa

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